The production was thrillingly executed for Friday’s full house by a superlative cast under brilliant direction by the intrepid Kathy Mulay, making it the first ‘Must See’ of this young theater season.

Wherever performed, “Les Miserables” raked in top honors. It owns the third longest run ever on Broadway. A “re-imagined” version comes to New York next March 1.

The show has been produced in 42 countries, with no end in sight. At the Civic, Music Director Cynthia Hunter masterfully led two dozen musicians in a strong performance of a demanding score approximating a mini-opera.

No less outstanding was Scenic/Projections Designer David Kyhn who projected dazzling images of dungeons, sewers and Paris street scenes to move action of the epical plot.

Barbara B. Moelaart devised ingenious makeup and imaginative costumes for the players, ranging from rag-like garb for French society’s poor during failed revolutions of the 19th-century, to contrasting sumptuous gowns for upper society of the time.

But singing glorious selections cemented separate integers into a whole. The Civic attracted a wealth of talented singers. Jeremy Koch (Valjean) drew profound meaning from his songs, as his high baritone afforded warm timbre even during daring tonal leaps.

Zachery Joel Smits (Javert), Valjean’s nemesis, aroused the audience with an amazing “Stars” in Act One. ”Soliloquy” at his suicide scene is unbelievably effective — compliments also to technicians who wired him to depict his leaping from a bridge and drowning. (This scene will be talked about for years.)

All songs were excellent, without exception. Likewise, the full chorus, men and women, brought energy and nuanced musicianship to production numbers. One key to Mulay’s success was allowing comedic moments to balance the plot’s darker moments. Phillip M. McLellan and CeCe Weeks, as the Thenardiers, were simply dazzling in providing broad humor.

If these observations cannot convince you to see the Civic’s production, go anyway. You will delight yourself while trying to prove me wrong.